Welcome back to the Belfry and our production of 1939, produced jointly with Canadian Stage (Toronto), in association with the Stratford Festival.
As always, we look forward to seeing you at the theatre.
B4 Play
(In-person + Online)
SATURDAY, OCTOBER 26 AT 11 AM
BMO Studio Theatre, 1291 Gladstone Avenue
Our live talk show hosted this time by CBC Radio’s Jason D’Souza and featuring artists from the upcoming show, along with experts from the community, has been designed to provide insight into each Mainstage production.
Each event is held the Saturday before Opening, is free to attend, live-streamed on Facebook, and is available as a podcast on our website.
B4Play is ASL Interpreted. To reserve free tickets, please call our Box Office at 250-385-6815.
Land Acknowledgement
The Belfry Theatre is on the land of the People, known today as the Esquimalt and Songhees Nations. The people have been keepers of this land for millennia and we offer them our respect and gratitude for our presence on this territory.
THE PROCESS OF RESEARCHING AND CONSULTING DURING THE DEVELOPMENT OF THE PLAY 1939
By Jani Lauzon and Kaitlyn Riordan
Our focus for writing the work was two-fold. First, we were responding to the question that Murray Sinclair asked of all of us: “What can we do to engage in reconciliation?” And secondly, we were asking ourselves what a story about the incredible resilience of the students at a Residential School would look like. With Yvette Nolan’s permission we watched an interview with her mother, Helen Thundercloud, as she talked about her experience with a teacher in Residential School who taught her Shakespeare - which helped bring about the layering of Shakespeare into the script.
We are aware that there are many incredible plays written about Residential Schools. A perfect place to start would be Indian Act: Residential School Plays edited by Donna Michelle St. Bernard through Canadian Play Outlet. You can find reference to it here: https://www.canadianplayoutlet.com/products/indian-actresidential-school-plays-by-donna-michelle-st-bernard. We made a choice to use a different lens. We wanted to focus on the strength and wit that the students used to try to endlessly cope and navigate their circumstances.
is produced four times per year and can be found at branches of the Greater Victoria Public Library, the Belfry, and online at issuu.com/belfrytheatre. If you would like a digital copy please drop us a line at hello@belfry.bc.ca.
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1939 is generously supported by
Tickets 250-385-6815 / tickets.belfry.bc.ca
Upstage is supported by
Kaitlyn and I began our work by researching and reading the TRC Calls to Action and focusing on #83, which calls on “the Canada Council for the Arts to establish, as a funding priority, a strategy for Indigenous and non-Indigenous artists to undertake collaborative projects and produce works that contribute to the reconciliation process”. Included in the plethora of reading that we did were Canada’s Residential Schools: The Métis Experience Volume 3 and Forgotten, The Métis Residential School Experience by the Legacy of Hope Foundation. Aside from reading books, we knew that we also needed to reach out to Survivors and Knowledge Keepers. Not to validate the experience but to ask for guidance in the process.
We began our conversations with Elder Elizabeth (Liz) Stevens, from Kettle and Stony Point First Nation, who is the Elder in Residence at the Stratford Festival. Liz has a family history with Residential Schools and is an advocate of language reclamation. Liz was present at our
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first workshop at Stratford, in 2019, and continues to be involved with the process as an advisor. We visited her at her home in her community and have spent many hours discussing the importance of language and were encouraged by Liz to include language in our play, which we were also committed to.
In the summer of 2019, we went up to Algoma University for a research trip at the archives through the Children of Shingwauk Alumni Association (CSAA). We met with Shirley Horn, a member of the Missanabie Cree First Nation, (I had met Shirley previously at Soulpepper Theatre Company) who at the time was the Chancellor of the University. Through Shirley, we met with several Survivors, all part of the Alumni Association they had created. In her position as Chancellor, Shirley was now advising the University on how to honour to legacy of the Survivors of the Shingwauk Residential School that had become the main building of Algoma University. Shirley was intrigued by our project and joined our group of cultural advisors. She attended zoom workshops as well as read future drafts so that she could give us feedback.
At the Algoma archives, we did extensive research and continued to build the relationship with the CSAA in various ways. First, Stratford collected $5 from every ticket sold for 1939 to donate to CSAA for the important work they are doing. Next, in the spring of 2024, a bus of Elders and University students came to the production of 1939 in Sudbury. Then, this past June, we brought the cast up to Sault St. Marie to do a staged reading, with the help of YES! Theatre, for the Survivors and their families. Some of us attended the Sunrise Ceremony and the whole cast was present during the feast with the Survivors.
We also reached out to and engaged with Elders Edna Manitowabi, who is Odawa/Ojibway from Wikwemikong, Manitoulin Island, and Pauline Shirt, who was a Plains Cree Elder from Saddle Lake, Alberta.
To start with, they read the script and gave us feedback. Edna encouraged us to keep pursuing the humour, citing that it was not only a form of resilience for the students but also medicine for the audience - both Indigenous and non-Indigenous. Pauline came to Stratford with her daughter Luanne Harper to lead us in a circle and to give the entire cast, crew and design team teachings around the medicines and the importance of water.
This group of cultural advisors came together for an event held at Stratford in the summer of 2022, called Stories From Our Grandmothers, that invited audiences to come and hear about the work they have done and are doing in their communities to help with healing and rebuilding what colonization attempted to take from them. The Festival also hosted an event with Bev Sellars, whose book about her experience as a Residential School Survivor, They Called Me Number One, was a big influence in the writing of the play.
Our Reflection Space in Toronto, a very important aspect to the experience of the show, has been led in the various locations by a variety of incredible First Nations facilitators. Kelly Fran Davis, a member of the Haudenosaunee Confederacy of the Grand River Territory was in Stratford ON, and was consultant to those who led the process in Sudbury and Toronto. In Sudbury, the facilitators were a group of Elders and Knowledge Keepers brought together by local Indigenous Knowledge and Language Keeper Will Morin. In Toronto, at Canadian Stage, a team of facilitators were led by Trina Moyan, a nehiyaw iskwew from Frog Lake First Nation. Lately, we have been inspired by Mattea Roach’s quote: “When the book ends, the conversation begins”. We have found this to be true in our reflection space. When the play ends, the conversation, for some, begins; for others, it grows.
One last important aspect of consultation was the use of what we call the “Spirit Images”. The vision behind these images, that appear like magic on the chalk boards, was to layer in the concept that the ancestors and children who never made it out of the school were sending messages of hope to the current students. Similar to the sound design, the metaphor for a directorial vision was that the walls held memories and could talk. I reached out to David (Sunny) Obasawine, a Cultural and Spiritual Advisor for the Debajehmujig Storytellers in Wikwemikong. Sunny received the teachings of the Peterborough petroglyphs by his mentor Eddie King. Sunny led the crew, cast, admin, and design teams of both the Sudbury and Canadian Stage / Belfry production through the teachings behind the creation of the petroglyphs and the general meanings of the images that were chosen for the play.
by Dahlia Katz.
At all stages of the consultation the Elders and Knowledge Keepers were offered tobacco and were well compensated, either through Stratford or through Kaitlyn and I personally.
Above: L-R: Richard Comeau, Merewyn Comeau, Brefny Caribou, Nathan Howe, John Wamsley, Grace Lamarche, Catherine Fitch. Jani Lauzon – Director / Joanna Yu – Set Designer / Sim Suzer – Associate Set Designer / Asa Benally – Costume Designer / Barbara Morrone-Sanchez – Associate Costume Designer / Louise Guinand – Lighting Designer / Sruthi Suresan – Associate Lighting Designer / Photo
Why I Chose This Play
Cast & Creatives
Brefny Caribou
Grace Lamarche BETH SUMMERS
Joanna Yu SET DESIGNER
Sruthi Suresan ASSOCIATE LIGHTING DESIGNER
When I first read 1939, I was struck by the way in which this play, set in a Residential School, manages to give these Indigenous students agency. The play does not ignore the abuses that took place in these institutions. But in the words of Jani Lauzon—whose has spent decades creating, encouraging, and promoting Indigenous theatre in this country—she and her coplaywright, Kaitlyn Riordan, “wanted to focus on the strength and wit that the students used to try to endlessly cope and navigate their circumstances.”
Also, at a time when directors are twisting and turning Shakespeare’s plays—or actually rewriting them—to make them fit with our modern sensibilities, I so admire how cleverly the playwrights make All’s Well That Ends Well a play that speaks to, and belongs to, these students.
—Michael Shamata, Artistic Director
Merewyn Comeau EVELYNE RICE
Amanda Lisman MADGE MACBETH
Sim Suzer ASSOCIATE SET DESIGNER
Wayne Kelso SOUND DESIGNER & COMPOSER
Catherine Fitch SIAN AP DAFYDD
John Wamsley
Jani Lauzon DIRECTOR & CO-PLAYWRIGHT
Barbara MorroneSanchez A SSOCIATE COSTUME DESIGNER
Maya Bowers ASSISTANT STAGE MANAGER
Nathan Howe FATHER CALLUM WILLIAMS
Kaitlyn Riordan CO-PLAYWRIGHT
Louise Guinand LIGHTING DESIGNER
Richard Comeau JOSEPH SUMMERS
Asa Benally COSTUME DESIGNER
Sarah Miller STAGE MANAGER
JEAN DELORME
SUSAN BLACKBIRD
LIVE & VIRTUAL EVENTS
Our round-up of events happening at the theatre over the next four weeks.
B4PLAY (IN-PERSON + ONLINE)
BMO Studio, 1291 Gladstone Avenue
SATURDAY, OCTOBER 26 AT 11 AM
Our live talk show hosted this time by CBC Radio’s Jason D’Souza and featuring artists from the upcoming show, along with experts from the community, has been designed to provide insight into each Mainstage production.
Each event is held the Saturday before Opening, is free to attend, live-streamed on Facebook, and is available as a podcast on our website.
B4Play is ASL Interpreted. To reserve free tickets, please call our Box Office at 250-385-6815.
TALKBACK THURSDAY
THURSDAY, NOVEMBER 14 FOLLOWING THE PERFORMANCE (IN PERSON EVENT)
On the third Thursday performance during the run of each show, most (usually all) of the actors return to the stage to answer your questions and provide insight into the play you have just experienced. These Q & A sessions last approximately 20 minutes.
VOCALEYE
SUNDAY, NOVEMBER 17 AT 2 PM (IN PERSON EVENT)
For patrons with low or no vision, we offer one VocalEye performance during most Mainstage productions. Trained Audio Describers provide descriptions of the visual elements of the show, allowing people with low vision to enjoy the theatrical experience without missing any of the details. More information at the Box Office250-385-6815.
Belfry Librarian
The wonderful librarians at the Greater Victoria Public Library have compiled a list of books and videos to help you get even more out of our production of 1939.
All’s Well That Ends Well [DVD] by William Shakespeare (2013)
Complete Works of William Shakespeare by William Shakespeare (1994)
Churchill and the King by Kenneth Weisbrode (2013)
The Fire Still Burns: Life in and After Residential School by Sam George (2023)
Five Little Indians by Michelle Good (2020)
Golden Memories: a pictorial record of the visit of King George VI and Queen Elizabeth to Canada and the United States, May 17 to June 15, 1939, together with texts of their Majesties’ principal addresses in Canada and an exchange of toasts in Washington (1939)
Held By the Land: A Guide to Indigenous Plants for Wellness by Leigh Joseph (2023)
The Knowing by Tanya Talaga (2024)
Sky Wolf’s Call: The Gift of Indigenous Knowledge by Eldon Yellowhorn (2022)
Wabanang: … an Anishinaabe Grandaughter’s Search for the Truth by Judii Merle (2022)
The Witness Blanket: Truth, Art and Reconciliation by Kirstie Hudson (2022) - Tells the story of the making of the Witness Blanket, a work by Indigenous artist Carey Newman that includes items from every residential school in Canada and stories from the Survivors who donated them.
SPOTLIGHT ON SUPPORTERS: 40 Years with Pat O’Brien
by Joe Wiebe
Pat wipes away a tear when I arrive at her house to interview her.
“It’s because Keith is here,” she says, “and Peter was here yesterday.” She is referring to fellow Belfry Theatre employees, folks she has known and worked with for a long time.
“I’m just going to miss them,” she continues. “And it’s going to be weird. I’m not going to be able to walk into the Belfry and stand by someone’s desk and interrupt them.”
It’s going to be hard for her to say goodbye to everyone — Pat has developed a lot of friendships over the four decades she has worked for the Belfry Theatre.
“April 18 was 40 years,” she says as we sit down in her cozy living room. I can see the Lochside Trail out the window behind her, and beyond that, the trees that border Swan Lake.
“I love my job, and part of me thinks I can do it forever, but my body can’t be at my desk that much anymore.”
Patricia O’Brien was born in Montreal, then moved with her family to Ottawa, and then to St. John’s when she was 15. She left home at 17 and was a “junior hippy in Banff” for a couple of years. This was the mid-1970s. Eventually, her father persuaded her to go back to school and she ended up at the University of PEI studying English. That was where she met her future husband, Michael Gaudet. They moved to Victoria when Michael was doing his Master’s at UVic and have been here ever since. Michael retired from his job as a librarian at the university two years ago.
After working in the McPherson box office, Pat became the Symphony’s Box Office Manager but lost that job while she was on maternity leave. At first, she was content to stay home with her baby, but then Belfry GM Catherine Lowther called her up and offered a job as Box Office Manager. Pat said no because that would require working nights. Next, Catherine asked her to be the bookkeeper.
Tickets 250-385-6815 / tickets.belfry.bc.ca
“I don’t think so,” Pat replied, “because I don’t really know how to do that.”
“I’ve been told I really want to hire you,” Lowther responded, “so I can teach you that.” And that’s how it all began.
The Belfry Theatre in 1984 was a much smaller organization than it is now. This was several years before the company was able to buy the building and renovate the theatre.
“I remember trying to figure out what I was doing and there was no money.” In fact, the theatre owed so much money a season was cancelled because of it.
Over the next few years, there were some management changes and then Mary Desprez became General Manager.
“Mary is the one who really turned the place around,” Pat recalls. “She did all the renovations, and the renos were massive.”
I first met Pat when I worked at the Belfry in the 1990s. I started in the box office just as the renovations were being completed, and I remember that decade as being a huge time of growth and excitement for the company. Pat agrees.
“Mary was brilliant with money,” Pat remembers. “Doing capital campaigns was such a stretch — so scary — but we just learned together.”
Pat home-schooled her children while keeping the books for the Belfry. She also became the bookkeeper for Puente Theatre and then Story Theatre where she eventually became General Manager herself.
“Story Theatre was great, but I would wake in the night, checking the weather up north. It was a lot.” Story Theatre would send actors out in a van touring to schools all over Canada – my wife Allison Yauk was part of a tour that got stuck in Labrador City during a blizzard!
As the Belfry grew, Pat’s job grew along with it, and she finally realized she had to give up
her other jobs when she became the Belfry’s Director of Finance.
One of the aspects of working at the Belfry that Pat says she will miss is attending the first read-throughs when the actors and the creative team begin rehearsals, an event that is playfully called “Meet the Donuts.”
“It’s always magical to me. I love hearing them. Often, at a table read, you’ll think why are they even going to rehearse – this is perfect – and then you go to dress rehearsal, which I also love, and it is so different.”
And there is a practical reason for the bookkeeper to attend Meet the Donuts, too.
“Sometimes it’s really good to know that there is an elephant, and they forgot to budget for the elephant. Or I don’t even know who that person is — am I paying them?”
Prompted to remember some of her favourite shows, Pat highlights a few: “Spelling Bee comes to mind because it was so fun. It’s hard to choose… there were so many that I loved. But The Life Inside, I loved that. I saw it so many times. And The Lehman Trilogy was one of the best shows I’ve ever seen.”
In retirement, Pat is really looking forward to hanging out with her grandkids (aged three and seven), and just spending time outside walking or gardening.
“I’m hemming and hawing about getting a puppy.”
By this time, Pat’s tears have dried. In fact, I detect a glint of excitement in her eyes as I say goodbye.
Joe Wiebe is the author of Craft Beer Revolution: The Insider’s Guide to B.C. Breweries and a cofounder of Victoria Beer Week and the BC Ale Trail. Before he became the expert on BC beer, Joe worked at the Belfry from 1992 to 1999.
1939
PERFORMANCE SCHEDULE
October 29 – November 24
Tuesdays – Thursdays at 7:30 pm
Friday & Saturdays at 8 pm
Wednesday Matinees at 1 pm (November 6, 13, 20)
Saturday Matinees at 2:30 pm
Sunday Matinees at 2 pm
Audience Engagement Schedule
B4PLAY (In-person + Online)
Saturday, October 26 at 11 am
TALKBACK THURSDAY (In Person)
Thursday, November 14 following the performance.
VOCALEYE
Sunday, November 17 at 2pm (in-person event with Touch Tour)
How to buy tickets
By telephone
250 385 6815
Please have your credit card ready, as well as the date and time of the performance you wish to attend.
Online
Visit belfry.bc.ca/tickets and buy your tickets online, anytime.
In person
Drop by our Box Office.
We accept Visa, Mastercard, American Express, debit card, cheques, and cash.
